NEW MUSIC: Buddy Glass – No One Can Tell You You’re Wrong

Sydney songwriter Buddy Glass’ (Bruno Brayovic from Peabody) second album, Wow & Flutter (Glass Half Empty Records), is out now on vinyl, digital and streaming formats. In Mr Glass’ words:

Wow & Flutter was recorded by me in the back room of my house in Marrickville, on a TASCAM 4-track cassette recorder, in between dogs barking and babies crying. I had to buy cassettes online from Melbourne and bought and sold several 4-track machines until I found the right one. Tim Kevin, who recorded and mixed the first album, recorded a few extra bits and pieces and mixed it. The finished album is eight songs with a couple of different vibes.””There’s the more traditional singer-songwriter style of the first couple of tracks, ‘Promised Shoreline’ – a story about a couple whose faith is tested in life and death, and ‘The Spirit of a Small Town’ – a true account of the dark goings-on of my mother’s family and her birthplace in the south of Chile. But then the album settles into its second phase. The hypnotic, trance-inducing repetition of ‘The Bird’, ‘If You Sail Out’, ‘Wasted Habit’ and ‘Yuppie, Junkie, Athlete’. The album closes with ‘The Only’ – an epic checklist of modern malaises, combining the album’s two worlds into six minutes of 60s singer-songwriter-inspired folk-drone. Yeah, I know.””I hope you like Wow & Flutter. It took me a while but I think it’s worth it.” x BG

To celebrate the release of the new album he’s also released a video clip for the new single ‘No One Can Tell You You’re Wrong’, of which he says:

“It takes a lot of courage to follow a dream. To disown everything around you and make your way through life doing what you really want to do. You might have to step on some necks. People and relationships will fall (or will be felled) by the side of the road. This song is about and for those who have that conviction and ambition. I don’t.”

“The video was made not long before my cat Nina passed away. It looks like it was an homage to her, and I guess it now kinda is, especially as she looks towards the setting sun in the final scene. The footage I got of her was just meant to be practice for the app I’m using to film, but upon revisiting it, I thought the shots really captured just how gentle and beautiful she was, so I kept it.”

“The other part of the split frame is just me driving down New Canterbury Rd from Petersham to Dulwich Hill. If you look closely early on, I managed to get one of the street lights just as it starts to flicker on. I was pretty happy with that.”
BG

SONIC KICKS: Peabody

Sonic Kicks PEABODY

Peabody are now five albums deep in a career that has seen them become a stalwart of the Sydney indie rock scene over the last 24 years. Their latest, A Redder Shade Of Rust (produced by Jamie Hutchings) finds them in fine form yet again. It’s heady, poetic and a really great balance of melody, rhythm, momentum and knotty guitars. It’s dark and churning one minute, on songs such as ‘Perfectly Fine’, before hitting a spirited punk sprint on ‘Prosthetic Heart’. Elsewhere, ‘Sometimes’ is a murky tumble through post-punk shadows and ‘Too Many Days’ heads to the desert with a Morricone twang and an exquisite chorus.

Singer and guitarist Bruno Brayovic kindly took the time to take a swing through our Sonic Kicks: Albums That Shaped Me Q&A and talks G’N’R, Ween and buying cassettes in Ashfield Mall.

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The first album I bought.

The Divinyls  – What a Life

I bought this on cassette (which I still have) at a small record shop next to Franklins supermarket in Ashfield Mall, when I was in Year 5. I’d seen an ad for it on TV which included snippets of Good Die Young and of course, Pleasure and Pain. I was mesmerised, and if I’m honest, probably quite excited by Chrissy Amphlett. I still am.

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An album that soundtracked a relationship.

The blue album by Weezer was a a favourite of mine and my first girlfriend. I wore Buddy Holly glasses but I’m pretty sure neither of us knew what Mary Tyler Moore looked like.

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An album that inspired me to form a band.

It’s a cliche but Nirvana’s Nevermind really solidified my resolve to write songs and perform them with a band (we’d already performed live at school in some capacity). The simplicity of the songs and Kurt’s vocal approach both appealed to me because they both seemed achievable. I was wrong.

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An album that reminds me of my high school years.

Guns N Roses – Appetite For Destruction

I’d gone overseas with my parents so I managed to get it before it came out in Australia. I taped it for heaps of my friends so I was popular for about two weeks. It’s still the very copy I listen to when I whack it on the record player.

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An album you’d love to hear live and played in full.

I thought Kell’s (from Singing Skies) suggestion of John Cale’s Paris 1919 was awesome. I’d love to hear that. But if I have to choose something different I think I’ll say Ween’s Chocolate & Cheese.

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My favourite album cover art.

So many to choose from. Hard to go past Midnight Oil’s Red Sails in the Sunset.

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A guilty pleasure album.

The Traveling Wilburys self-titled debut album. Is this cool again, or is it still daggy? I dunno, but I do know there are some killer songs on it. Some of Bob Dylan’s best songwriting moments are on here, too, including ‘Tweeter & the Monkey Man’, which George Harrison said was actually largely written by Tom Petty. Each song is better than the last, with the exception of ‘End of the Line’ which is still passable.

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The last album I bought.

A vinyl reissue of Paul Kelly’s Post.

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The next album I want to buy.

Piss-Up by local punk band C.O.F.F.I.N. The vinyl is sold out but I’ve been streaming it like crazy. Anyone wanna sell me a copy? Will drop pants for food… or album. These guys are insane live.

ALBUM REVIEW: Peabody | Loose Manifesto

written by Chris Familton

Peabody hit album number four in fine health with no sign of slowing down or easing off on their highly strung indie rock. Perpetually underrated they’ve never really attained ‘band of the moment’ status or taken that step up to national success. They definitely have the songs here to do that, now they just need the attention.

Loose Manifesto kicks off with the call and response vocals of This Empty Road that harks back to New Zealand’s Verlaines, especially with the inclusion of some well placed strings to build the mood. The gentle start is quickly broken apart with the heady rush of Black Narcissus and its relentless drumming and some rousing vocals from Bruno Brayovic.

Recorded on the same 8-track tape machine that Nirvana used for Bleach is an impressive footnote for anyone’s album and they’ve achieved a nice mix of grit and sheen with the sound of the album. The faster songs are similar to current work from The Thermals with rousing choruses and punky belligerence. Their ability to sound intellectual and primal at the same time is one of the keys to Peabody’s appeal.

Jamie Hutchings wasn’t involved in the production this time round but his control room ghost is still firmly felt on Take It From Me, a dead ringer for mid period Bluebottle Kiss in terms of some spoken word vocals and its post rock guitar sonics. They do it exceptionally well and the song adds some considerable balance to the more anxious moments on Loose Manifesto.

Though there are a bunch of memorable moments on the album there is a sense of looseness and drift across it’s forty two minutes. As you start to settle into the rhythm and plane of the music they take sharp turns. To shift from Choking’s distorted, spiraling guitar rock to Mirror Mirror’s gentle meandering warmth is a big jump. Both songs are great in their own right, especially the latter with its Crazy Horse electric wanderings, but that dislocation across twelve tracks does detract from an ‘album experience’.

Loose Manifesto extends the range and appeal of Peabody’s rock and stroll approach to guitar music admirably and they are edging ever closer to recording the great album they have within them.

this review first appeared on The Dwarf